“My experience reading the script was, every time I thought it would be so psychotic if they crossed that boundary but they never will because it’s a movie, 10 pages later they did,” she says. “Splice” goes to a number of bizarre extremes that aren’t commonly seen in the genre.Īnd that, too, was a big plus for Polley. That was incredibly fun to play, and very non-traditional for a woman, especially in sci-fi movies.” ![]() “When women are written as ambitious and manipulative, it’s always in the sort of Lady Macbeth mode, where they’re driving the guy to do something as opposed to doing it themselves. “What was thrilling about this role was that it’s always the guy who gets to be the mad, out-of-control scientist,” Polley says of Elsa. That seems in creepy keeping with the often furtive, obsessive nature of her creator. I wanted to be more open and receptive.”ĭirector Natali, who is probably best known for the cult sci-fi mindbender “Cube,” is never specific about what, exactly, Dren’s human genes were spliced with. “Sometimes, if you’re trying to copy a bird or a snake or something else, you forget your freedom. “I didn’t want to fix on a particular animal,” she says of those last two aspects. And the pupils were worked over to give them inhuman aspects.ĭren’s often animal-like, jerky moves were mostly left up to the actress to create.Īnd the impressive variety of chirps, clicks and other noises the creature communicates are partly her voice and part post-production sound effects. They were separated farther apart than they are on Chaneac’s, or anybody else’s, face. The only other extensive digital effect was applied to Dren’s eyes. Pinkies were simply glued behind her ring fingers when she tired of holding them there under her own strength. “I just walked with my knees bent, which was kind of tough on the legs.” “I wore high heels with these stupid blue socks that you look ridiculous with over them,” she says the leg extensions were then CG’d in over the blue areas. That was actually a design afterthought a midskull scar from a 26-year-old car accident was discovered atop Chaneac’s head when her hair was removed, and the artists extended it to her chin.Īs for that painful-looking way Dren walks on her double-jointed legs, Chaneac says the worst thing about it was the fashion aspect. Facial makeup was limited to a visible midline running down the center of Dren’s face. We’d find the laughs in all of the perversion and the strain of reality that we were doing.”Ĭhaneac says that there’s more of her in the movie than may meet the eye. “And Sarah’s incredibly intelligent and believable, and at the same time, she has a wonderful sense of humor. The sounds, the nuances, the gesture … Her becoming Dren was remarkable, and I couldn’t have made a connection to that character without that. Aside from what you see that she’s had to undergo – from shaving her head to the painful process of the prosthetics she had to endure every day and being half naked in Canada in the winter – she did tremendous work on her character. “Delphine is such a team player and good sport. “Both of them are gems,” the Oscar-winning “Pianist”-player says. However badly they behave onscreen, co-star Brody assures us that the actresses were delightful to have around on set. I think we can understand how she gets where she gets, but I don’t think we have to like her all the time.” ![]() And she’s so obsessed with her goal that she has complete disregard for any casualties in the wake of that. “She obviously has had a pretty neglectful, isolating childhood that she’s clearly never dealt with. “So I think we can understand why Elsa is the way she is,” says Polley, also 31. But we all run into people in our lives who aren’t, and it’s interesting to get to know why. “I think that there aren’t enough unsympathetic characters in movies, generally,” laughs Polley, a longtime indie film actress who, when last heard from, was impressing pretty much everybody with her feature directing debut, “Away from Her.” “Whenever you’re making a film, the script notes are always about how to make a character more sympathetic. As you can imagine, that only moves matters from bad to worse – and makes the people’s behavior, in some ways, more despicable than their monster’s. Elsa and her personal and professional associate, Adrien Brody’s Clive, don’t exactly make the best decisions when confronted with Dren’s rapid developments.
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